Through the Looking Glass
at Oakcrest School

Reviewed on February 25, 2017

Jess Scarano
McLean High School
Submitted for publication to Cappies News

A musical twist on a childhood favorite is always a crowd pleaser. Combine reality and fantasy, and the audience's theatrical journey is delightful and exhilarating. Such is the experience created by Oakcrest School's production of "Through the Looking Glass."

"Through the Looking Glass" is based on the beloved story of "Alice in Wonderland." With book and lyrics by Chris Blackwood and music by Piers Chater Robinson, the production is anything but your average Alice story. Young Alice is scolded constantly for daydreaming about far off places. One night, however, a party guest opens the door to another world, one in which fantasy is very much alive. In the alternate world, Alice finds herself surrounded by strife as the Evil Red Queen preys on her, a white knight becomes her guide and sidekick, and she meets up with old friends such as Humpty Dumpty.

As young Alice, Kiley Hatch exuded innocence and naiveté. Hatch used exaggerated facial expressions and quirky mannerisms to encompass the childlike nature of her character. Upon diving into the looking glass, Alice meets the noble White Knight, Patricia Cuenca. The pair had wonderful harmonies together, and Cuenca managed to play the typically male part with ease, both vocally and dramatically. As her alter ego Lewis Carroll, Cuenca was equally confident and comical.

However, the character that stole the show and left the audience quivering in their seats, was the villainous Clare Kolasch as both Mrs. Prickett and the Red Queen. Kolasch consistently dazzled with her excellent vocals, particularly during the number "The Claws that Catch" and used her whole body to emote. In addition to the Red Queen herself, the entire Red Court did a wonderful job playing the victims of the queen and using larger-than-life motions to highlight the comedy of the production.

Contrasting the bitterness of the Red Court was the kind-hearted Papa/White King (Brigid Kilner). Kilner brought endearing spirit to the stage during the first scene as Alice's father and brought the entertaining character of the White King to life later in the production. Not to be forgotten in this whimsical world is the tap-dancing goat (played by Grace Ferguson). Ferguson's notable tap-dancing skills were showcased in "Tickets Please!" a number full of energy and quick movements.

Although minimal, the set allowed for easy transitions to account for the multiple locations in the story. The house's purple walls with gold accents were beautiful, while the forest beyond reality was spooky and fantastical. Mirroring the set, the props team chose simple items such as a wooden structure on wheels to suffice as a horse and a small chessboard in the reality world to foreshadow later themes. The makeup team did a fantastic job of making the leading players and ensemble alike look clean and appropriate. Although there were a few moments where whispering could be heard from offstage, overall the sound team managed to handle many microphones very well.

Oakcrest School delivered in their eccentric production of "Through the Looking Glass." They proved that not only can they present a big-name musical with an all-female cast, but they can do it successfully.

Kristen Waagner
McLean High School
Submitted for publication to Cappies News 2

On the other side of the Looking Glass, it takes courage, wit, and a whole lot of imagination to create your very own adventure. In a clever continuation of Lewis Carroll's beloved "Alice in Wonderland," Oakcrest School takes audiences on a whimsical journey filled with lovable characters across the chessboard with "Through the Looking Glass."

This little-known musical delights with a jocular book by Chris Blackwood and a lively score by Piers Chater Robinson. Familiar characters embark on new quests in this show, based off Lewis Carroll's "Through the Looking Glass, and What Alice Found There." The story documents the adventures of Alice, after she climbs through a mirror into an alternate, dreamlike universe. To save the chessboard from crumbling, Alice must become a queen and end the reign of the tyrannical Red Queen.

As she endeavored to save the Looking Glass World, Kiley Hatch played Alice with endearing quirkiness, adding dimension to her character. Her innocent curiosity and reactions to the events of the show made her development from child to adult captivating. Attempting to thwart Alice's attempts was the deliciously wicked Red Queen, played by Clare Kolasch. With a twirl of her fingers, she commanded the stage and struck fear into the hearts of everyone around her. Kolasch's voice stood out in its strength and consistency in "The Claws that Catch," made even more entertaining by her fierce facial expressions.

Patricia Cuenca shone as the White Knight, the chivalrous but clumsy champion who helps Alice cross the chessboard. Her stage presence and confidence revealed the Knight's adorable awkwardness and eccentricity. Cuenca's vocal skill was shown as she admirably handled harmonies written for a male actor without losing musical integrity. Chemistry between actors such as the White Knight and Alice, Tweedle Dum (Katie Svoboda) and Tweedle Dee (Isabela Wilson), and the White Queen (Anna Diederich) and Red Queen increased the believability of the show's many relationships. Comedy was emphasized by the antics of the bumbling White King (Brigid Kilner) and the arrogant egg Humpty Dumpty (Therese Goyette).

The ensemble of "Through the Looking Glass" admirably portrayed the many residents of the world behind the mirror. Tight harmonies solidified their choir-like singing style, and they remained committed throughout their scenes. Each member of the cast was easily audible through extensive utilization of microphones, a challenge that was well-executed by the sound crew. Lovely costumes accentuated the whimsical nature of the show, and, though some transitions ran long, creative prism set backdrops brought the audience into each location.

A heartwarming coming-of-age story, "Through the Looking Glass," is an endearingly nonsensical show that reminds audiences of the child within us all.

Aubrey Winger
Loudoun Valley High School
Submitted for publication to Patch.com

Checkmate! The cast of Oakcrest School's most recent production won a Wonderland-style game of chess (and the hearts of the audience) with their performance of "Through the Looking Glass."

"Through the Looking Glass" is a musical based on Lewis Carroll's novel of the same name. It is considered a sequel to the famous Alice's Adventures in Wonderland. Written by Chris Blackwood, this show is centered on Alice and her adventure through Wonderland accompanied by the mysterious White Knight. Although her ultimate goal is to traverse the chessboard and find her way home, Alice ultimately learns that she is no longer small, but a powerful young woman that can do anything she sets her mind to. Along the way, she meets a wild assortment of characters, including Tweedle Dee and Tweedle Dum, Humpty Dumpty, and even a goat, while putting an end to the Red Queen's reign of terror.

Alice (Kiley Hatch) captured youthful exuberance in her performance. She addressed every curiosity she came across with eagerness and enthusiasm. Her relationship with the White Knight (Patricia Cuenca) had a layer of authenticity that strengthened both of their characters. Cuenca enthralled the audience with her deep and melodic voice in "Yonder" while using her trusty "steed" Chequers to add an element of humor to her scenes.
Therese Goyette as Humpty Dumpty had a little egg-stra sparkle in her scenes as she paraded around as guardian of the wall. Tweedle Dee and Tweedle Dum (Isabela Wilson and Katie Svoboda) were two peas in a pod in their number "Two Sides to Every Argument." Their constant contradicting and effortless synchronization was adorably convincing.

The Red Queen (Clare Kolasch) dominated the stage with her exquisite presence. As she grew more enraged, she showed palpable tension throughout her entire body. One hand was always contorting, a physical manifestation of her scheming. It was clear that Kolasch had complete control over her voice. She found dynamics in her words, softly uttering threats and gradually building to a climatic explosion of rage. She sprawled on her throne like she belonged there, making it clear that no one would dare take it away from her. She provided immense contrast to the White Queen (Anna Diederich) who, although meek, also had an impressive stage presence. On the other hand, the White King (Brigid Kilner) delivered comedy with short quips and one-liners.

The ensemble as a whole used their voices to give every song an ethereal feel, reminding the audience that this world is nothing but a dream. They were engaged and coordinated during songs, making numbers like "The Claws that Catch" particularly impactful.

The use of periaktoi as a backdrop proved effective in setting the various scenes that took place throughout Wonderland. The makeup was consistent throughout, and the decision to give White Knight a beard differentiated her from the other citizens of Wonderland and made her character seem weathered and wise.

A piece unlike any other, this production of "Through the Looking Glass" was a journey chock full of whimsy, imagination, and one curious little girl.

Claire Briggs
Flint Hill School
Submitted for publication to The Catholic Herald

In a topsy-turvy world filled with talking animals, people gone mad, a monstrous creature called the Jabberwock, and an evil queen with a love of beheadings, eleven-year-old Alice manages to overcome the fantastical chaos surrounding her journey through the looking glass and into adulthood. On Saturday, February 25th, Oakcrest School put on a thoughtful and interesting production of the musical "Through the Looking Glass." The musical was adapted from Lewis Carroll's novel of the same name, with books and lyrics by Chris Blackwood and music by Piers Chater Robinson.

In the musical, Alice (played by Kiley Hatch), with the support of the White Knight, whose real-world double is Lewis Carroll (both played by Patricia Cuenca), the White King (Brigid Kilner), and the White Queen (Anna Diederich), must venture through the mysterious Looking Glass World to take the throne from the evil and oppressive Red Queen (Clare Kolasch). Despite the overwhelming madness of this new world, Alice maintains her kind and inquisitive spirit, strengthened by the help of her "new" friends, who each represent a person from her life back home.

Kiley Hatch's performance as Alice managed to show a sense of childlike wonder that, throughout the show, shifted into the determined resolve of a young woman on the cusp of adulthood. Her delivery and comic timing further elevated her performance, which could simultaneously elicit both sympathy and laughs from the audience.

Other highly enjoyable performances were that of the compassionate White Knight (Patricia Cuenca), the loving royal couple composed of the White King (Brigid Kilner) and the White Queen (Anna Diederich), and the fiery, villainous Red Queen (Clare Kolasch). Patricia Cuenca and Kiley Hatch's onstage time together as the White Knight and Alice had great scene chemistry, and their voices always blended beautifully. Cuenca was incredibly consistent in her characterization and could always be looked to for interesting reactions, even when not speaking. Brigid Kilner's comedic White King was a nice contrast to Anna Diederich's regal and serene White Queen, and their interactions were charming and adorably amusing. Lastly, Clare Kolasch's complex portrayal of the Red Queen practically stole every scene in which she appeared. Her performance utilized her entire body so that even her fingers seemed menacing. Kolasch's voice showed incredible skill and stood apart even in songs full of other voices.

It should be noted that the cast, coming from an all-girls school, handled the challenge of playing male roles quite well, singing traditionally male vocal parts very melodically and making their performances seem convincing, natural, and likable.

The sound also deserves commendation, as the plethora of microphones ensured that individuals could be heard over the orchestra.

The cast of Oakcrest School's "Through the Looking Glass" put on an enjoyable, moving rendition of the musical; their high energy and spirits made the show fun to watch, and their thoughtful actions gave an interesting perspective on what it means to grow up. The cast should be congratulated on a job well done.

Julia Luigs
McLean High School
Submitted for publication to Connection

Look deep into the mirror, and you may find a whole new world on the other side. But if you wish to come back home, let fantasy be your guide. With the touch of a reflection, Oakcrest High School plunges into the mysterious world of "Through the Looking Glass" and comes out singing.

"Through the Looking Glass" tells the story of Alice's return to Wonderland, only to find herself caught in the middle of a war between the Red and White Kingdoms, with the Red Queen at the helm. Alice must make her way across the chessboard land and save the game that keeps these kingdoms alive before time runs out. The story was directly adapted from Lewis Carroll's original novel, with book and lyrics by Chris Blackwood, and music by Piers Chater Robinson.

As the young heroine Alice, Kiley Hatch portrayed a more flighty version of the beloved protagonist, which accentuated her childlike innocence. Alice's journey was fraught with peril thanks to the unstoppable force that was the Red Queen, played by Clare Kolasch. Kolasch physically dominated every scene she was in, using her body to emphasize every action, practically trembling with rage at the mere mention of Alice in her court room.

As Alice's guide through Wonderland, the White Knight (Patricia Cuenca) added humor to the narrative, which helped flesh out the ridiculousness of Wonderland. Cuenca's off-beat dance moves during songs like "Oh Frabjous Day" and interactions with her wooden horse Checkers were a delight to watch. Also providing some fun to the fantasy, Brigid Kilner flourished as the White King. Kilner and Cuenca's ability to adapt to a more masculine character and lower singing octave made them both standout performances.

As a whole, the ensemble of the show provided whimsy and wonder to the plot. During the act-ending song "The Claws that Catch" the ensemble of the Red Court worked together to provide cohesive movements that expressed the fear of what the Red Queen had planned as well as the power of the monster about to be unleashed. The performance was also heightened by the Red Queen's vocals, which were as powerful and domineering as she was. Although there were some issues with diction throughout the show, the emotion of all onstage helped convey the stakes at hand, and otherworldly harmonies from actors not onstage helped emphasize the fantasy of Wonderland.

The tech for this show was clean and consistent. Sound had the daunting task of miking a great number of cast members, but overall kept the balance so that no one singer overpowered others. The set design was minimal, with prism-like structures featuring different backdrops on each side, and the effect was positive in that the sets led themselves to slightly shorter transitions between scenes.

"Without balance all is lost," said the White Knight to Alice during a difficult part of their journey. Such is the case for the entire show, however the actors and crew of Oakcrest's "Through the Looking Glass" achieved the perfect balance of oddity and reality, making their journey a delightful one.

Erin Mullins
Lake Braddock Secondary School
Submitted for publication to Fairfax County Times

There are two sides to every mirror, but what happens on the other side? Travel through the looking glass to a world where moving backwards goes forwards and life is like a giant game of chess.

Chris Blackwood and Piers Chater Robinson's musical adaptation of Lewis Carroll's "Through the Looking Glass" follows the continuing adventures of Alice as she falls into a world of whimsical nonsense. With help from various characters of the White Court, Alice must play across the chess board and not only find her way home, but restore the peace the Red Queen has taken away. While playing the game, Alice loses herself, finds herself, and learns that holding onto imagination is important while growing up.

Oakcrest School's performance featured an all female cast, and each actress performed with energy and excitement. The ensemble worked together to execute dance numbers that were coordinated and lively. The cast overall had strong, clear voices that blended and could be heard onstage, as well as backstage for certain scenes. For the most part, the cast was fully invested in the story and remained focused throughout the show.

Kiley Hatch, who played Alice, was endearing in the role. Her movement brought to life Alice's quirky mannerisms, and she captured her childlike wonder in her acting. She also portrayed Alice coming of age, and showed her changing as a character as the show progressed. Hatch had a strong, melodic voice that worked well with Patricia Cuenca's (Lewis Carroll/White Knight). The two had multiple duets and their harmony was impressive. The pair performed with chemistry that set an emotional dynamic for their characters.

Clare Kolasch took charge in her role as the Red Queen. She performed with a confident stage presence that captured the audience's attention, and she consistently stayed in character. Kolasch acted with her entire body, producing the terrifying anger and arrogance of the Red Queen. Her powerful voice enhanced her performance even further, especially at the end of act one in the musical number The Claws that Catch.

The lighting for the show was bright and lit up the entire stage, allowing the actors facial expressions to be seen clearly. Every member of the cast had a body microphone, and the microphones were reliable. They did not give out during the show, and the dialogue could be heard easily. The prism set was a good use of space. It helped differentiate the scenes without using excessive props, and each side of the prism was colorful and unique. The balcony being used as a place for the narrators to oversee the story was clever. Along with this, it was also used as a perch for the Jabberwock to stand, menacingly watching over those on the stage.

The cast was full of good relationships that showed in their performance. The musical and technical components came together to form an entertaining show about adventure, curiosity, and self worth.